Felipe R. Martínez

ifs Internationale Filmschule Köln
 www.felipermartinez.com

Felipe is originally from San Fernando, Chile. After his graduation as Licentiate in History and Asian Studies, Felipe studied Scriptwriting at the International Film School of Cuba. Later, he worked as a scriptwriter for TV and cinema in México City until, after being part of the Locarno Filmmakers Academy, he migrated to Tokyo, where he worked for 3 years as a director for jazz and art documentaries, music videos and live performances.

Parallel to his film work, Felipe has made poetry and research publications and still photography expositions in Asia and Latin-America, having served as an artist in residence in China, Japan and Chile. Felipe’s work is characterized by an interdisciplinary connection between cinema, poetry and free form elements of music, dance, and contemporary art.

Since 2018 Felipe lives in Cologne, where he studied a Master’s program in Digital Narratives at the ifs. This has allowed digitality to deeply enrich his creative exploration, adding a transmedial layer to his new productions as well as being the source material for a renewed academic interest in cultural cybernetics.

Publications

  • K-Jazz: A brief history of the Jazz in Corea (On: “Sowing, Germinating and Blossoming: Young Chileans’ Eyes on Corea” Corea Foundation / PUC Editors 2011)
  • Japanese Ukiyo-E and Van Gogh: (Artnovo Magazine, Santiago de Chile 2017)

    • All Sessions by Felipe R. Martínez

    • 4. Young Academcs Workshop

      July 7 - Open only for Participants

    • 11:00  - 11:20
      It is generally accepted that VR offers a broad range of possibilities for narration and sensorial experiences. However, the limitations of mainstream cinema language for VR narration development are increasingly apparent. This particular media-history conjuncture has a precedent one hundred years ago: The birth of cinema and the exploration of experimental film, which attempts to hack the psyche perception of the very fabric of reality, as well as breaking the self-referential logic of theater and literature. In this paper, I attempt to establish a connection between techniques ofExperimental Cinema and the creation of avant-garde sensorial atmospheres for VR.This paper is divided into 3 broad parts: Part 1 provides an analysis of theory and praxis in the works of Dziga Vertov and Kino-Eye for a non-individual narrative, of Maya Deren and the staging of dreams by ritualistic modes, and Raoul Ruiz and his poetic for spiral narratives. Part 2 outlines some of the key principles behind aesthetic and technical atmospheric elements on outstanding immersive VR Experiences such as Note on Blindness, Bjork's "family", and a selection of works by the MIT-Media-Lab. In the remainder of the paper, I will focus on establishing a parallel and comparative analysis of the case of studies and its poetic and formalistic dynamics from a media theory point of view. Still, a comprehensive manual of experimental Cinema into VR is beyond the scope of this paper, and its main objective is to shed light on underlying principles and dialectic dynamics that can further enrich the development methods for the creation of deeper and newer atmospheres. Hopefully, this paper can suggest ways for a conscious craft of human-machine interfaces that transcend the limits of theatrical representation andexpand the possibilities of sensorial perception into a brand new myriad of dreams.
      Where
      Zoom

    • 14:00  - 15:30
      20-30 min for each paper. Group A: Björn, Vadim, Felipe, Miruna, Su-Jin Group B: Katja, Jonathan, Anh-Thu, Magdalena, Felix, Jimena
      Where
      Zoom




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    Felipe R. Martínez